Sentences with phrase «way less characters»

Not exact matches

It» fine to wish and hope that people are doing fine, but it's not healthy to bring make - believe characters into the mix — you'll only weaken your mind that way, and then you are of less use to anyone.

In a way my question about «totality» and «the refusal of distance» sums up the other questions and suggests that a stance which has a larger component of irony and understatement toward the self might be able to bear the fragmentary character of existence with less restlessness toward totality.

In line with concerns already seen, Wieman noted Whitehead's acknowledgement of the mutually exclusive character of many great values and concluded that «Therefore the chief problem of progress is to organize the world in such a way as to make less mutually exclusive and more mutually inclusive the best that men can experience and the best that can ever occur» (JR1O: 138).

As Novak wrestles with the complexity involved even in defining social justice, evangelical leaders think they can handle the big issues of the day in a way that helps the church in trite servings of 140 characters or less.

The ox remains the subject in 22:1; but it is well to follow the chapter division because the theme of physical violence, dominant down to chapter 22, here gives way in the main to regulations of a broader and less personal character.

«I thought we had two good chances and after it was just down to 1 - 1, then we showed resources and character, were leading 3 - 1 and controlled the game quite well, but at 3 - 2 we became quite nervy again and we finished in a bit of a less controlled way, but overall it was a good team performance.»

Neither the refined nor the melodramatic way to play these characters is wrong, or any less entertaining, it's just they belong in different plays.

We engage in a dynamic and powerful way, often in 140 characters or less.

The gift service is more or less an electronic greeting card that provides a simple way of sending a message, even a rejection complete with the imagery of one character running away from another.

And although the pervasive atmosphere of quirkiness often threatens to become overwhelming, it does become increasingly clear that Satrapi intends for the film's style to represent the central character's less - than - sane mindset - with the heightened reality of the movie's environment going a long way towards fleshing out the protagonist and his deranged psyche.

But no, these characters never think in self less ways, they are obsessed by wanting to leave their marks in the world, and they go about it by doing everything that is opposite to leaving their mark.

Cable is less nuanced than Thanos (although, as one might reasonably expect, the screenwriters find a way to make the connection) but he's a credible enough villain when it comes to sowing chaos and, as is hinted at during his opening scene, there's more to the character than meets the eye.

The script, credited to Reynolds, Rhett Reese and Paul Wernick, finds the mutant Deadpool meandering his way to the X-Mansion and joining various X-Men members — including Domino (Zazie Beetz) and Colossus (computer effects plus the voice of Stefan Kapičić)-- as they try to protect an alienated, rebellious teen mutant called Firefist (Julian Dennison) from assassination by the Terminator, er Looper, er mercenary - from - the - future Matthew Cable (Josh Brolin, aka Young Nick Nolte Returned, playing his second Marvel character in less than a month).

But this is way off the level of a Brooklyn or Lady Bird performance, perhaps because she simply found less to connect with in such a prim, uncomprehending character.

It's difficult to think of a director less - suited to take on the intricate, minutiae - obsessed writing of Peter Morgan than Howard — a director who, even in his finest films, has always been interested in the big picture first, with characters serving history rather than the other way round.

Though it's evident that Marina comes from a different class than most of the film's other characters, A Fantastic Woman is withholding about her background and family — and this would be less of a problem if Lelio and co-screenwriter Gonzalo Maza offered her much in the way of motivation or aspirations.

But Upstream Color is way less of a puzzle than Primer was — it's much more about burrowing inside your head with the weird lovely pictures, and making you identify with two characters who are fatally dysfunctional.

A wide variety of character classes enable truly different strategies based on the abilities of individual units, making the damage a unit does less important than the way it does the damage.

There's little doubt such attributes, coupled with Will Smith's typically engrossing work, goes a long way towards compensating for the ineffectiveness of the younger Smith's performance, as the fledgling actor's less - than - competent turn ensures that Kitai simply never becomes the dynamic, charismatic lead character that one might've expected (and hoped for).

One might also note the parallels to the character of Howard Beale in Network (1976)... though Christine Chubbuck was less vociferous and never took to yelling «I'm mad as hell, and I'm not going to take it anymore» while on camera (though she evidently felt that way).

It takes a similar plot (a girl's inexplicable obsession with a jerk as the crux of a police investigation), similar structure (flashbacks and an unreliable narrator expose the truth of the jerk's vanishing act), similar setting (a gothic academy), and even a similar conclusion (Abandon's is a million times sadder, if atonally winking in and of itself), but Gaghan, besides sparking with his characters in a way that is foreign to the makers of The Hole (there, director Nick Hamm is less interested in compulsion than in repulsion), has no use for sensationalism — The Hole is a piece of tabloid reportage next to Abandon, which wallows humanistically in the epidemic of loneliness.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

Similarly premised on a tipping point between synthesis and disarray was the Kiwi anthology Waru, an unprecedented collaboration among eight Maori women filmmakers, each contributing a 10 - minute short film linked in more and less obvious ways to the funeral of the title character, a young boy who died amid dubious circumstances.

With regards to the introduction of previous Heroes from other games, it's done in the similar fashion as to how any new character is introduced, usually by you joining them in battle to assist them, or having to battle them first and then they join you, but while I would like to applaud its story for the way it does mirror that of one you'd expect from a lesser Fire Emblem game, but there can be no denying that despite the approach taken, it's story does feel like that of Fire Emblem Heroes and Hyrule Warriors slapped together with some of the names, items and minor details changed to something else.

He really doesn't offer much in the way the original did as the character is more or less a generic cop character.

The movie feels less like a cash grab than a thoughtful continuation of Dory's personal journey, staying true to what makes the character unique (her short - term memory loss) without being hampered by its limitations, all while finding creative ways to progress the story and further develop Dory as a character.

Almost as exciting as adding Star Wars characters, Infinity 3.0 is selling its Power Discs in a far less shady way.

This pattern seems to have been repeated by Warner Bros» Green Lantern which landed on the number one spot at the box office after making its way across 3,800 theaters all over the U.S. Notably the movie stars Ryan Reynolds in the role of the Green Lantern who is a lesser known DC comics character alongside Blake Lively.

It's a complicated tale — so much so that a character literally finds a journal that explains it in one of the more unique ways to convey exposition in a while — but I found myself less hooked on the twists and turns and more engaged in the imagery and the filmmaking.

The film does an admirable job of condensing the graphic novel series into a little less than two hours, but — in the process — Scott's character is a smidge de-jerkified and Ramona's given way less to do.

Other lead characters looks less smart the way they are portrayed in the game.

Men in this film get to ride in the back seat of the story, but this never means their story is any less complex or their characters in any way underwritten.

With the new film comes a new director, Francis Lawrence, who gives us less character touches but more emphasis on action (thankfully, with less of the shaky - cam effects of Gary Ross), which may please those looking for the dystopic film to just keep moving, even if it seems to skip some narrative steps along the way.

After mining its most famous characters to great effect at the box office, Marvel needs to tap fresh, lesser - known characters to build its audience and pave the way for the company's future.

Having a less capable character take over in the lead role made the game relatable and in some ways powerful.

The entire film references other comic book films, and pop culture mentions, typically by making fun of them in some way; Green Lantern, joke in the credits, Batman v Superman Dawn of Justice's silly mommy moment, Hawkeye's lack of powers, Josh Brolin's Thanos's two - timing as a character in Avengers: Infinity of War less than three weeks ago, at one point Wade simply calls Brolin's (Cable), «Thanos,» Logan's gags you'll need to see for yourself.

«A film without main characters where the lives of characters that have lost their head intertwine in a dramatic and less dramatic way in an ordinary concrete panel apartment building.»

This film is in some ways less epic and more ambitious, truly delving into character and using the greater metaphor of wanton destruction in very pleasing way.

Well considering I've been sold on this game from day one way back when, and knowing the guys and Monolith are going for the whole anime - style and all but am I the only one who feel the character motels are less than what they could be?

The use of photographs - within - film to freeze characters in a milieu while defining it in modern terms was already a worn idea when George Roy Hill claimed it for Butch Cassidy and the Sundance Kid, and here it's handled with even less integrity, by way of a photographer whose 19th - century camera and anachronistic darkroom give him in a few short hours prints of a quality no photographer achieved before about 1920.

But most of this work makes way for very little reward, because Ayer's script focuses less on the actual characters in the tank and more on what they do with the tank.

Not his most flashy picture, Davies structures the film as more or less a wordy, profoundly intimate character study that plays on subtlety in ways few directors truly can.

Although the resulting mystery is less intriguing than the unsettling atmosphere that surrounds it, the screenplay by director Aaron Katz (Land Ho) probes the aftermath of tragedy in fresh ways, while Kirke and Kravitz each find a balance between exterior strength and internal vulnerability in their respective characters.

And yet the movie remains somewhat palatable for the duration of its brief running time, with the less - than - engrossing opening stretch, which predictably revolves around Farley's childhood and adolescence, giving way to a series of anecdotes concerning the comedian's stint on SNL - with the highlight undoubtedly a prolonged look at the creation of Farley's now - legendary motivational speaker character.

Less than a month later, at Berlinale, our correspondent on the scene praised the film for the way that Guadagnino funnels the romanticism of the film through an intimate character - based perspective.

This is less a failing of this particular film and more a symptom of trying to find interesting and cinematic ways to cover gaming, a massively popular and important industry but one that rarely throws out interesting characters or remarkable stories that ache to be told.

Though the way different characters interpret what would seem to be virtues, twisting them into something less than noble, but still rhetorically valid, has its own fascination.make a sacrifice that may do no good or might save them all.

Your article is really interesting and in a very simple way points out the obvious truth about what happened in 1974 (though I loved his performance, I always wondered why Carney, over two iconic characters such as Jake Gittes and Michael Corleone; had less doubts about 2002 since by that time I was already 32 and following Oscars for a long time)..

The plot barrels along at breakneck speed, giving the characters and situations less time to breathe, and there are a number of clumsy transitions that make it seem as if the director lost his way a few times and accidentally left something potentially valuable or clarifying on the cutting room floor.

I can tell you The Ex is mean - spirited, features not a single likeable character, and resolves its less - than - sitcom - ish plot way too easily.